August, 2007 19

Total Page:16

File Type:pdf, Size:1020Kb

August, 2007 19 August, 2007 19 LYRALEN KAYE (AFTRA/SAG) is a Meisner-trained actress who Some people coin the feeling as the "acting bug," but there's nothing buggy received her MFA Theatre from Sarah Lawrence College in 2002. She about it. The word that best describes what JUDITH KALAORA lives for as is seen regularly in Boston theatre and her credits include The Seagull an actress is "rush" - the thrill of adrenaline exploding inside and coming with Theatre Zone, Unveiling with Molasses Tank, Tomboy with J. Rene out of her body thru voice, expression and physicality. Her euphoria? Productions/NYC Fringe Festival, They Named Us Mary with PS Passing that rush to her audience. Judith’s career began at the age of nine. Films/ACP and numerous shows at the Devanaughn Theatre. Her film She was active in community theatre throughout her adolescence, and she credits include 27 Dresses with Columbia Pictures, Mama's Boy with Flancrest Films, and Escape graduated Syracuse University Magna cum Laude, receiving a BFA in from the Night with Smithline Films. Contact Lyralen at [email protected]. Acting and Spanish Literature & Language. She studied at the Shakespeare's Globe in London, and performed the role of Lady Macbeth ROBERT “Big Jake” JACOBS (AEA/SAG) has performed on on the Globe stage. Upon completion of her degree in '05, she returned to Broadway and in Regional and Stock Theatres throughout the East the Boston area and has become extremely involved in the theatre, television and film (feature & Coast; including: Worcester Foothills, Worcester Forum Theatre, Lyric indie) scenes. You can frequently see her in Downtown Boston working for the Freedom Trail Stage, Vokes Theatre, Reagle Players, American Stage Festival. Winner Foundation as a colonial-costumed tour guide (in English and Spanish). Judith also has eight years of many acting awards, Jake has been fortunate to have performed of martial arts and stage combat training, access to authentic colonial era wardrobes, and a wide some memorable roles including; Tevya, Fiddler on the Roof; Earl, gamut of character voices, accents and dialects. You can reach her at [email protected], Blue Hair Troupe, King/Papp, Big River, Sir, Roar of the Greasepaint; or visit www.agencyprotalent.com/judithkalaora for an online portfolio. Lenny, Of Mice and Men; Nicely-Nicely, Guys and Dolls, Miles Gloriosus, A Funny Thing Happened... Forum; Molokov, Chess; ANGELO NARGI (SAG)Born, bred and educated in the Bronx (NY), Angelo Charlemagne, Pippin; Charles/Lord Amiens, As You Like It; Nargi served in the U.S. Navy as a Radioman and made his career in the air- Headmaster, Morning Song; Bandit, Roshomon; Nick Bottom, A Midsummer’s Night Dream; Tito, line business. Between both he has traveled the world extensively and began Lend Me a Tenor and originating the role of Harry Frazee in Curse of the Bambino; which has his show business career doing part time gigs for many years. He learned received National attention. Jake is also featured on the Cast Recording available on CD. Jacobs the trade by appearing in numerous films, commercials, industrials, voice also has performed in many feature, student and short films, on television and in commercials and improv dinner theatre, as well as character modeling. Angelo is a mem- including; A Civil Action, Mystic River, The Departed, The Brotherhood, Against the Law and ber the Guild of Italian American Artists and resides in Massachusetts. To Spencer for Hire. Contact Big Jake at (781) 844-0209 or email [email protected]. reach him, call (978) 535-2450 or email [email protected]. ELAINA VRATTOS (AEA/SAG/AFTRA) Over the last 20 years, this VICTOR WARREN (SAG/AFTRA/AEA), a native Californian, is a graduate of Carnegie-Mellon actress and director, has won dozens of awards from the EMACT and University where he majored in acting and directing. After graduation, he worked in California for NETC for her Acting and Directing and was nominated for the over fifteen years at Universal Studios as a director, camera operator and technical director. In Independent Reviewers of New England Award for Best Supporting 1993, Victor moved to Cape Cod and from there he has worked successfully as a director and actor Actress in 1999 for her portrayal of Sarraghina in Nine at the Publick in New York and Boston doing commercials, print work, voice-overs, regional theatre, films and Theatre. Vrattos’ performance credits also include; Mother Superior in television. Some TV credits include Jake and the Fat Man, Airwolf, Unsolved Mysteries and Nunsense, Myrtle in Blue Hair Troupe, Jack's Mother in Into the Hunter, as well as many different soap operas. Regional credits include Lips Together Teeth Apart Woods, Truvy in Steel Magnolias, Mother Abbess in Sound of Music, (Sam), The Foreigner (Rev. David Lee), Twelfth Night (Feste), Knives in Hens (Ploughman) and April in Hot L Baltimore and Yente in Fiddler on the Roof, Auntie Rita more recently, the New England Premiere of Jacob Marley's Ronzoni in Joey and Maria’s Comedy Wedding and Lina Cuisina in The Soprano’s Last Supper. Christmas Carol (Scrooge), GYPSY (Herbie), Bosoms and Neglect Elaina’s directing credits include: Lucky Stiff, Nine, Godspell, Guys and Dolls, HMS Pinafore, (Scooper), The Country Girl (Bernie Dodd) and Carousel (Jigger Moon Children, Chorus Line, Anything Goes, A Funny Thing Happened... Forum, Bye Bye Birdie, Cragin). Also an award-winning filmmaker (Alone, Best Independent Heidi Chronicles and Working. Vrattos can be seen in several industrial films, student films, fea- Short film at the Canadian Int'l Film Festival; The Road Less ture films, television and radio commercials; including an episode of Unsolved Mysteries and most Traveled, RI Int'l Film Festival) and director, Victor recently appeared recently a film mocumentary called, I Loved to Hear Them Scream where she played Rhonda the in the new England premier of Brooklyn Boy with SpeakEasy Stage sister of a serial kidnapper. Under the operation of Vrattos' production company, Big Smile in Boston, and directed Breaking Legs for the Barnstormers Theatre. Entertainment, Elaina has written, directed and produced several productions for Walt Disney For more information, visit www.victorwarren.com. Productions/ ABC Corporation and mounted a concert to benefit Aids research on Broadway in New York City. Contact Elaina at (781) 844-7225 or via email at [email protected]. Boasts Boston-based veteran entertainment and celebrity publicist CHARLES J. COHEN, "You Don't Have to be a Star to Get Star Treatment!" Specializing in the small business, restaurant, con- JUDSON PIERCE graduated from Vassar College in 1994 with a Bachelor's Degree in Political cert, Broadway Show, non-profit organization, sports & special media events arenas, Cohen's full- Science and in 1997 earned his law degree from Suffolk University service public relations, marketing and advertising agency's client roster reads like a veritable Law School. Since 1999 he has been an associate at the law firm of "Who's Who," while offering smaller projects the same effort, professionalism & creative instinct! Alan S. Pierce & Associates in Salem and was recognized by Boston Loyal Cohen clients (past & present)-just to name a few- include Faneuil Hall Marketplace & Magazine's Super Lawyers-Rising Stars in 2005, 2006, and 2007. Quincy Market; The Comedy Connection; Jackie Mason; Joey & Maria's Italian Comedy Outside of the law, Jud's passion is acting. He has acted in over 60 plays Wedding; More than 100 Broadway and Off-Broadway shows; Phillis Diller; Liza Minnelli; Steve and musicals since 1990, most recently portraying Marty in The House Allen and Spirit of the King, starring award-winning Elvis Presley impersonator Steve Connolly; of Yes at Hovey Players. Other favorite roles include Chris Keller in All The Tim Wakefield & Jason Varitek-supported Pitching in for Kids Foundation. For more infor- My Sons, Hal in Proof, Nick in The Guys, Jerry in Zoo Story, and Happy mation, call (617) 436-6159 or email [email protected]. in Death of A Salesman. Jud was recognized as Best Actor for his role as Yvan in ART and Best Supporting Actor for his role as Joe in The WILL LUERA is the Artistic Director of ImprovBoston, Artistic Director of the Lowell Comedy Last Night of Ballyhoo at the 2002 EMACT Festival at Brandeis Festival, Mainstage Director at ImprovAsylum, and Artistic Associate of the Chicago Improv University, as well as being the only male actor in the 2006 EMACT Festival. Luera joined ImprovBoston in 1997 as a member of the Mainstage cast. Soon after he Festival Best Production winner, Five Women Wearing the Same Dress. Jud also plays tenor sax joined the TheatreSports cast and helped to start the Boston franchise of Sitcom. In 1999, he left in a band called Trial Run, performing a wide range of songs from the 1950s thru present day. Jud’s ImprovBoston to start his own improvisational theater company called Blue Screen, where he con- first book, Greater Boston Community Theater, published by Arcadia Publishing in September, tinued to direct Sitcom but also developed and directed ground-breaking shows like Secret Society 2006 is available for purchase online at www.emact.org. Contact Jud at [email protected]. and Dropkick Bandito. In 2000, he rejoined ImprovBoston as Artistic Director, directing the Mainstage cast and developing the nationally renowned productions of Sitcom, Secret Society, Blue JAMES FORBES SHEEHAN has been performing since his 2004 stage Screen and Quest. He has appeared in numerous improv festivals around the world and has stud- debut in the ensemble of Open Door Theater's The King & I. With that, ied improvisation with ImprovOlympic, The Second City, The Annoyance Theater, The Upright he was bit by the "acting bug" and has since performed in Open Door's Citizens Brigade, and Keith Johnstone.
Recommended publications
  • Shakespeare in Love
    FEB Shakespeare 26 MAR in Love 29 Based on the screenplay by Marc Norman & Tom Stoppard Adapted for the stage by Lee Hall Music by Alex Bechtel Directed by Matt Pfeiffer Welcome to Shakespeare in Love. Every year, many of you cry out to us “Dear God, no more Shakespeare!” While others plead “I loved your Winter’s Tale, your Richard III. Please put on Midsummer. I beg you for a Twelfth Night.” With Shakespeare In Love, the Purists and the Never Barders may unite to curse us with a plague on both our houses, but if they — and you — are someone who loves love, well then . Here is a love letter to romantic love, to the theatre, and to the rebellious, transgressive, mysterious, and glorious madness of both. Whether you keep Shakespeare close to your heart or far from it, we invite you to celebrate what he loved most: the stage, its players, poetry . and a dog. Zak Berkman, Producing Director Lend me your ears Matt Pfeiffer, Director I’ve been really blessed to spend most of my career working on the plays of William Shakespeare. I believe his plays are foundational to Western culture. Love him or hate him, his infuence is an essential part of our understanding of stories and storytelling. And I’ve had the privilege for the last six years of fostering a specifc approach to his plays. I found that attempting to be in conversation with the principals of the theatre practices of Shakespeare’s time was a good starting place—not so much aesthetically, but logistically.
    [Show full text]
  • The 200 Plays That Every Theatre Major Should Read
    The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986)
    [Show full text]
  • Boston Baseball Dynasties: 1872-1918 Peter De Rosa Bridgewater State College
    Bridgewater Review Volume 23 | Issue 1 Article 7 Jun-2004 Boston Baseball Dynasties: 1872-1918 Peter de Rosa Bridgewater State College Recommended Citation de Rosa, Peter (2004). Boston Baseball Dynasties: 1872-1918. Bridgewater Review, 23(1), 11-14. Available at: http://vc.bridgew.edu/br_rev/vol23/iss1/7 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Boston Baseball Dynasties 1872–1918 by Peter de Rosa It is one of New England’s most sacred traditions: the ers. Wright moved the Red Stockings to Boston and obligatory autumn collapse of the Boston Red Sox and built the South End Grounds, located at what is now the subsequent calming of Calvinist impulses trembling the Ruggles T stop. This established the present day at the brief prospect of baseball joy. The Red Sox lose, Braves as baseball’s oldest continuing franchise. Besides and all is right in the universe. It was not always like Wright, the team included brother George at shortstop, this. Boston dominated the baseball world in its early pitcher Al Spalding, later of sporting goods fame, and days, winning championships in five leagues and build- Jim O’Rourke at third. ing three different dynasties. Besides having talent, the Red Stockings employed innovative fielding and batting tactics to dominate the new league, winning four pennants with a 205-50 DYNASTY I: THE 1870s record in 1872-1875. Boston wrecked the league’s com- Early baseball evolved from rounders and similar English petitive balance, and Wright did not help matters by games brought to the New World by English colonists.
    [Show full text]
  • Class 2 - the 2004 Red Sox - Agenda
    The 2004 Red Sox Class 2 - The 2004 Red Sox - Agenda 1. The Red Sox 1902- 2000 2. The Fans, the Feud, the Curse 3. 2001 - The New Ownership 4. 2004 American League Championship Series (ALCS) 5. The 2004 World Series The Boston Red Sox Winning Percentage By Decade 1901-1910 11-20 21-30 31-40 41-50 .522 .572 .375 .483 .563 1951-1960 61-70 71-80 81-90 91-00 .510 .486 .528 .553 .521 2001-10 11-17 Total .594 .549 .521 Red Sox Title Flags by Decades 1901-1910 11-20 21-30 31-40 41-50 1 WS/2 Pnt 4 WS/4 Pnt 0 0 1 Pnt 1951-1960 61-70 71-80 81-90 91-00 0 1 Pnt 1 Pnt 1 Pnt/1 Div 1 Div 2001-10 11-17 Total 2 WS/2 Pnt 1 WS/1 Pnt/2 Div 8 WS/13 Pnt/4 Div The Most Successful Team in Baseball 1903-1919 • Five World Series Champions (1903/12/15/16/18) • One Pennant in 04 (but the NL refused to play Cy Young Joe Wood them in the WS) • Very good attendance Babe Ruth • A state of the art Tris stadium Speaker Harry Hooper Harry Frazee Red Sox Owner - Nov 1916 – July 1923 • Frazee was an ambitious Theater owner, Promoter, and Producer • Bought the Sox/Fenway for $1M in 1916 • The deal was not vetted with AL Commissioner Ban Johnson • Led to a split among AL Owners Fenway Park – 1912 – Inaugural Season Ban Johnson Charles Comiskey Jacob Ruppert Harry Frazee American Chicago NY Yankees Boston League White Sox Owner Red Sox Commissioner Owner Owner The Ruth Trade Sold to the Yankees Dec 1919 • Ruth no longer wanted to pitch • Was a problem player – drinking / leave the team • Ruth was holding out to double his salary • Frazee had a cash flow crunch between his businesses • He needed to pay the mortgage on Fenway Park • Frazee had two trade options: • White Sox – Joe Jackson and $60K • Yankees - $100K with a $300K second mortgage Frazee’s Fire Sale of the Red Sox 1919-1923 • Sells 8 players (all starters, and 3 HOF) to Yankees for over $450K • The Yankees created a dynasty from the trading relationship • Trades/sells his entire starting team within 3 years.
    [Show full text]
  • THE PEDAGOGY and ETHICS of IMPROVISATION USING the HAROLD David Dellus Patton Virginia Commonwealth University
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2007 THE PEDAGOGY AND ETHICS OF IMPROVISATION USING THE HAROLD David Dellus Patton Virginia Commonwealth University Follow this and additional works at: http://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from http://scholarscompass.vcu.edu/etd/906 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © David Patton 2007 All Rights Reserved THE PEDAGOGY AND ETHICS OF IMPROVISATION USING THE HAROLD A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. by DAVID PATTON Bachelor of Arts, College of William and Mary 1997 Master of Divinity, Union Theological Seminary and PSCE 2005 Director: AARON ANDERSON ASSISTANT PROFESSOR OF THEATRE Reader: JANET RODGERS HEAD OF PERFORMANCE Reader: CHARNA HALPERN ARTISTIC DIRECTOR OF IO CHICAGO Virginia Commonwealth University Richmond, Virginia May, 2007 ii Acknowledgement I would like to thank my father for inspiring my love of theatre and supporting me no matter what. I would also like to thank my Aunt Jane and Uncle Norman for being so very cool. Thanks to my old friends, Matt Williams and Tina Medlin Nelson, and my new VCU friends, Shanea N. Taylor and Kim Parkins, for making grad school bearable. Also thanks to Hana, Tara and the whole Beatty family for their love and support.
    [Show full text]
  • Jokes So Effective
    CHAPTER TWO But Seriously, Folks ... One of the biggest mistakes an improviser can make is attempting to be funny. In fact, if an audience senses that any performer is deliberately trying to be funny, that performer may have made his task more difficult (this isn't always the case for an established comedian playing before a sympathetic crowd — comics like Jack Benny and Red Skelton were notorious for breaking up during their sketches, and their audiences didn't seem to mind it a bit. A novice performer isn't usually as lucky, unless he's managed to win the crowd over to his side). When an actor gives the unspoken message "Watch this, folks, it's really going to be funny," the audience often reads this as "This is going to be so funny, I'm going to make you laugh whether you want to or not." Human nature being what it is, many audience members respond to this challenge with "Oh, yeah? Just go ahead and try, because I'm not laughing," to the performer's horror. A much easier approach for improvisers is to be sincere and honest, drawing the audience into the scene rather than reaching out and trying to pull them along. Improvisers can be relaxed and natural, knowing that if they are sincere, the audience will be more receptive to them. Audience members laugh at things they can relate to, but they cannot empathize if the performers are insincere. Ars est celare artem, as the ancient Romans would say: the art is in concealing the art.
    [Show full text]
  • BAM Announces the Complete Cast of Beckett's Endgame, Featuring John Turturro and Directed by Andrei Belgrader Running April
    BAM announces the complete cast of Beckett’s Endgame, featuring John Turturro and directed by Andrei Belgrader running April 25–May 18 Max Casella, Elaine Stritch, and Alvin Epstein to join cast BAM 2008 Spring Season is sponsored by Bloomberg Endgame Written by Samuel Beckett Directed by Andrei Belgrader Produced by BAM BAM Harvey Theater (651 Fulton St.) April 25 & 26 at 7:30 Apr 29—May 3, May 6—10, May 13—17 at 7:30pm (note: Apr 30 is the press opening) May 3, 10 & 17 at 2pm April 27, May 4, 11 & 18 at 3pm Tickets: $25, 45, 65, 75 BAM.org or 718.636.4100 Brooklyn, NY/March 11, 2008—BAM announces the complete cast of its upcoming production of Samuel Beckett’s Endgame. Joining John Turturro (Hamm) will be acclaimed TV, stage, and screen actor Max Casella (“The Sopranos,” The Lion King) as Clov. Veteran classical actor Alvin Epstein (Waiting for Godot, The Three Penny Opera, Tuesdays with Morrie) will play Nagg and the legendary Broadway actress Elaine Stritch will play Nell. The one-act play, originally published in 1957, is considered to be one of Beckett’s most important works. Endgame will be directed by Andrei Belgrader (American Repertory Theatre’s Ubu Rock, Yale Repertory Theatre’s Scapin). Twenty-four performances of Endgame will take place in the BAM Harvey Theater (651 Fulton St.) from April 25 through May 18 (press opening: April 30). Tickets, priced at $25, 45, 65, 75, can be purchased by calling BAM Ticket Services at 718.636.4100 or by visiting BAM.org.
    [Show full text]
  • A History of Production
    A HISTORY OF PRODUCTION 2020-2021 2019-2020 2018-2019 Annie Stripped: Cry It Out, Ohio State The Humans 12 Angry Jurors Murders, The Empty Space Private Lies Avenue Q The Wolves The Good Person of Setzuan john proctor is the villain As It Is in Heaven Sweet Charity A Celebration of Women’s Voices in Musical Theatre 2017-2018 2016-2017 2015-2016 The Cradle Will Rock The Foreigner Reefer Madness Sense and Sensibility Upton Abbey Tartuffe The Women of Lockerbie A Piece of my Heart Expecting Isabel 9 to 5 Urinetown Hello, Dolly! 2014-2015 2013-2014 2012-2013 Working The Laramie Project: Ten Years Later The Miss Firecracker Contest Our Town The 25th Annual Putnam County The Drowsy Chaperone Machinal Spelling Bee Anna in the Tropics Guys and Dolls The Clean House She Stoops to Conquer The Lost Comedies of William Shakespeare 2011-2012 2010-2011 2009-2010 The Sweetest Swing in Baseball Biloxi Blues Antigone Little Shop of Horrors Grease Cabaret Picasso at the Lapin Agile Letters to Sala How I Learned to Drive Love’s Labour’s Lost It’s All Greek to Me Playhouse Creatures 2008-2009 2007-2008 2006-2007 Doubt Equus The Mousetrap They’re Playing Our Song Gypsy Annie Get Your Gun A Midsummer Night’s Dream The Importance of Being Earnest Rumors I Hate Hamlet Murder We Wrote Henry V 2005-2006 2004-2005 2003-2004 Starting Here, Starting Now Oscar and Felix Noises Off Pack of Lies Extremities 2 X Albee: “The Sandbox” and “The Zoo All My Sons Twelfth Night Story” Lend Me a Tenor A Day in Hollywood/A Night in the The Triumph of Love Ukraine Babes in Arms
    [Show full text]
  • DB 2013 Katalog Prev
    Sponsor Generalny Sponsor Ofi cjalny Hotel Festiwalu Ofi cjalny Samochód Festiwalu 2 Przyjaciele Festiwalu Partnerzy Organizatorzy Patronat Medialny Dofi nansowano ze środków Ministra Kultury i Dziedzictwa Narodowego Projekt dofi nansowano ze środków Programu Operacyjnego Fundusz Inicjatyw Obywatelskich PGE 3 reklama Spis treści Sztuki wizualne Kto jest kto 6 Reżyser rysuje Podziękowania 9 wystawa rysunków Andrzeja Wajdy Słowo wstępne 11 z kolekcji Domu Aukcyjnego Abbey House S.A. 135 Kanał sztuki IV 136 Film „Hereditatis Paternae” wystawa malarstwa Jana Michalaka 137 Uroczystość Otwarcia 15 „Promień Światłospadu” Uroczystość Zamknięcia 17 Jerzy Krzysztoporski 138 Świat pod namiotem 18 „Lato w Kazimierzu i poezja” - Stanisław Ożóg 139 Pokazy specjalne 34 „Oblicza jazzu” wystawa fotografi i Katarzyny Rainka 140 Nagroda Filmowa Parlamentu Europejskiego LUX 34 „40 zdjęć na 40-lecie pracy w PWSFTviT” Lekcje kina 37 wystawa fotografi i prof. Aleksandra Błońskiego 141 Michael Haneke. Zawód: reżyser - pokaz fi lmu 37 „Fotoobrazy” - pokaz fi lmu artystycznego Waldemar Pokromski 39 prof. Mariusza Dąbrowskiego 142 Carlo di Carlo 40 „Kadry Rozpikselowane” Andrzej Jakimowski 42 Agata Dębicka 143 Wojciech Smarzowski 43 „Kultowe kino według Johansona” - Alex Johanson 144 Miasto 44 na DWÓCH BRZEGACH 45 „Classic Cinema” Robert Romanowicz (ilustracje), Na krótką metę 49 Paweł Bajew (fotografi a) 145 Janusz Morgenstern - Retrospektywa 51 „Wystawa setna pożegnalna” Thomas Vinterberg - Retrospektywa 59 Kolegium Sztuki UMCS Muzyka moja
    [Show full text]
  • Zap Teachers' Guide • a Play by Paul Fleischman
    CANDLEWICK PRESS Zap Teachers’ Guide • A play by Paul Fleischman THE PLAYWRIGHT Born in Monterey, California, the son of a well-known children’s book writer, Paul Fleischman grew up with stories and fell in love with words at a very early age. Yet he never really planned to be a writer. He explored various jobs, including short stints as a carpenter and a bagel baker. He eventually returned to the world of words by becoming a bookstore clerk and library aide. Then fond memories of his youth, when his father, Sid Fleischman, read aloud stories fresh from his typewriter, made Fleishman realize that writing might be a suitable career for him. He began to combine his love of music, his devotion to the past, and his keen interest in exploring new styles of writing into books for children and young adults. Joyful Noise: Poems for Two Voices won the Newbery Medal in 1989 and was performed on public radio. Zap is his first play. ABOUT THE PLAY 0-7636-2774-7 Zap leads readers, actors, and audiences on a wild and hilarious ride through theater history as seven plays collide to form an unforgettable spoof on life and social BEFORE READING THE PLAY conflict. The play opens in 1916 with an English Divide the class into six small groups, and assign each mystery loosely based on the works of Agatha Christie. group one of the following plays: The Cherry Orchard, With the zap of a remote control, the scene changes to The Mousetrap, The Glass Menagerie, The Odd Couple, a comedy similar in style to the works of Neil Simon.
    [Show full text]
  • Download Master List
    Code Title Poem Poet Read by Does Note the CD Contain AIK Conrad Aiken Reading s N The Blues of Ruby Matrix Conrad Aiken Conrad Aiken Time in the Rock (selections) Conrad Aiken Conrad Aiken A Letter from Li Po Conrad Aiken Conrad Aiken BEA(1) The Beat Generation (Vol. 1) Y San Francisco Scene (The Beat Generation) Jack Kerouac Jack Kerouac The Beat Generation (McFadden & Dor) Bob McFadden Bob McFadden Footloose in Greenwich Village Blues Montage Langston Hughes Langston Hughes / Leonard Feather Manhattan Fable Babs Gonzales Babs Gonzales Reaching Into it Ken Nordine Ken Nordine Parker's Mood King Pleasure King Pleasure Route 66 Theme Nelson Riddle Nelson Riddle Diamonds on My Windshield Tom Waits Tom Waits Naked Lunch (Excerpt) William Burroughs William Burroughs Bernie's Tune Lee Konitz Lee Konitz Like Rumpelstiltskin Don Morrow Don Morrow OOP-POP-A-DA Dizzy Gillespie Dizzy Gillespie Basic Hip (01:13) Del Close and John Del Close / John Brent Brent Christopher Columbus Digs the Jive John Drew Barrymore John Drew Barrymore The Clown (with Jean Shepherd) Charles Mingus Charles Mingus The Murder of the Two Men… Kenneth Patchen Kenneth Patchen BEA(2) The Beat Generation (Vol.2) Y The Hip Gahn (06:11) Lord Buckley Lord Buckley Twisted (02:16) Lambert, Hendricks & Lambert, Hendricks & Ross Ross Yip Roc Heresy (02:31) Slim Gaillard & His Slim Gaillard & His Middle Middle Europeans Europeans HA (02:48) Charlie Ventura & His Charlie Ventura & His Orchestra Orchestra Pull My Daisy (04:31) David Amram Quintet David Amram Quintet with with Lynn Sheffield Lynn Sheffield October in the Railroad Earth (07:08) Jack Kerouac Jack Kerouac / Steve Allen The Cool Rebellion (20:15) Howard K.
    [Show full text]
  • Press Release Wednesday 18 January 2017 Royal Court
    PRESS RELEASE WEDNESDAY 18 JANUARY 2017 ROYAL COURT THEATRE CASTING ANNOUNCEMENT: THE KID STAYS IN THE PICTURE Thomas Arnold, Heather Burns, Christian Camargo, Max Casella, Clint Dyer, Danny Huston, Ajay Naidu and Madeleine Potter cast in The Kid Stays in the Picture based on the life story of legendary Hollywood producer Robert Evans directed by Simon McBurney. Patrick Milling Smith, Barbara Broccoli, Michael G Wilson, Brian Carmody and the Royal Court Theatre in association with Complicite announce that Thomas Arnold, Heather Burns, Christian Camargo, Max Casella, Clint Dyer, Danny Huston, Ajay Naidu and Madeleine Potter have been cast in new play The Kid Stays in the Picture which is based on the life of Robert Evans adapted from his memoir. It runs in the Royal Court Jerwood Theatre Downstairs from Saturday 11 March 2017 – Saturday 8 April 2017 with press invited from Monday 20 March and the embargo lifted from Thursday 23rd 11.59pm. Directed by Simon McBurney and adapted by Simon McBurney and James Yeatman. Co- Director James Yeatman with set design by Anna Fleischle, costume design by Christina Cunningham, video design by Simon Wainwright, lighting design by Paul Anderson and sound design by Pete Malkin. "There are three sides to every story: my side, your side, and the truth. And no one is lying. Memories shared serve each one differently." In the 1960s and 70s, Robert Evans became one of the most powerful figures in Hollywood. He saved Paramount Pictures from collapse and produced films including The Godfather and Chinatown. By the 1980s he was broke, with his personal and professional life spiralling at epic proportions.
    [Show full text]